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LORI is sonic witchcraft, made of improvisations and experiments with the voice, songs in ruins, fragments of languages, matriarchal glossolalia, noise. The compositions begin with free singing without concern for language. The result sometimes resembles known languages and later can generate lyrics, arising from the sonority. Other layers are added, many of them generated from the voice itself, others with the use of altered field recordings, synthesizers, drum machine, bass, guitar, and the audio capture of the magnetism, sonorities and resonances from many sources. Lori is a solo project by Leandra Lambert, who performs the entire production process, from the initial improvisation to the master. With this project, she seeks shamanic and transformative experiences using singing and other vocal possibilities, electronics and various technologies (high, low and DIY), loops and drones, free improvisation, and programming, with intense real-time effects processing.

Born in the city of São Paulo and raised in Salvador “the blackest city outside Africa“, Thiago Trad, well-known in Brazil as the drummer behind the pop/rock band Cascadura, launches his first solo album Moscote in the 20th of July. The release shows the results of Thiago’s worldwide musical research passing through cities such as Berlin, Marrakech, New York, Lisbon, Paris, Buenos Aires, Montevideo, Juazeiro, Santo Amaro and Salvador.

The album transits between the roots of Brazilian music, experimental jazz and the various contemporary languages ​​in an organic way. “Moscote is a free territory, an invitation to the imaginary of transterritorial liberation, where everything is sound and vibration”, defines Thiago.

Introducing, SPIO (São Paulo Improvisers in Orchestra) is an orchestra of musicians and sound artists of the most diverse trajectories that work the language of free musical improvisation through regency.

With some kind of singular sound and uncommon training, SPIO has in its sound body instruments ranging from traditional in orchestras to electronic gadgets and inventive luthierias. The proposal develops in an experimental approach, always with constructions composed instantly, making each presentation is unique.

Formed by musicians participating in a series of experiences in free improvisation, part of the programming of FIIL – Festival International of Free Improvisation between 2011 and 2014 in Centro Cultural São Paulo, which provided the exchange with artists of the genre of other continents.

Currently, SPIO develops footwear work in the “Lawerence Butch Morris” and released in November 2017 by Sê-Lo Netlabel, their first album recorded live that same year in the worldwide launch of the woorkbook of this methodology.

Sweet Desastre is a brazilian duo formed by Glauber Guimarães and Heitor Dantas.Muzákna (EP released by Sê-lo Netlabel), a soundtrack for an imaginary expressionist movie (or an expressionist soundtrack for an imaginary movie) was recorded between April and June 2017.
The listener will find echoes of Tom Waits, world music, industrial machinery, Zappa, brazilian music, avant-garde classical music and lo-fi aesthetics.
But there’s a little more than that here. The (musical) exploration of the language of dreams, for example.
The album was self-produced and all songs were written by Glauber, except Absoleta (Heitor/Glauber).

by Wayne Rex

About a year ago, I decided to record a random drum track and then, with the wizardry of computer technology, alter the sounds so, it becomes a whole different entity. Alas, I’m not that great with a computer so I just ran the track via a wahwah peddle and hey presto, This is what! was born. Not thinking too much about it, I posted it on bandcamp and it grabbed the attention of Spanish experimental musician, Gori Valarez (Loe Lof Lon) who decided to remix the track and again, it became something completely different, once again. From then on, we decided to record an album together. With the wonders of modern technology, we can easily do this, even from a thousand miles away. I started by recording a number of freely improvised drum trcks, with no definitive style, just play whatever I was feeling at the time. From that point on, Gori adopted the tracks, spliced them when needed and recorded his layers of freely improvised music, using everything from guitars to reeds, turning the tracks into a collection of wonderful improvised songs. Pieces of art, in their own right. His hard work on this album is admirable and he also organised the superb artwork (painted by Piedad Ortiz). She captured the film noir feel to the record, perfectly.
All that’s left to say is, we hope you enjoy the album as much as we enjoyed making it.

The album is a release of Sê-lo! Netlabel in partnership with Ferror Records (Spain) and MuteAnt Sounds Net Label (USA).

The Radio Diaspora duo made up of Rômulo Alexis (trumpet, flute, other wind instruments and vocals) and Wagner Ramos (drums and electronics) conjugates the sonorous verbs of the African diaspora through the experimentalism of Free Jazz and Free Improvisation, developing a dilation of the signs of black culture through zones of intensity, re-signifying the flow of information that marks the plurality of the afro-descendent musical experience.

Diaspora denotes a flexible and dynamic concept of cultural identity. It involves a transcultural consciousness and a sense of belonging that are anchored in human subjectivity. This mobile archipelago of belonging is generated through the accumulated experiences of all Afro-diasporic ancestry and its sonorous, vocal, poly-rhythmic, polyphonic codes that have spread throughout the world in a flow marked by expropriation, genocide, slavery and, above all, resistance and invention.

In a countercurrent to the monopolistic representation of white culture, Radio Diaspora works on material generated through the sonorous polyphony of black cultural heritage, sampling and amplifying references that are added as triggers of energetic approaches in relation to the diasporic epic of black culture. Rejecting submission to traditions and culture as domination, Radio Diaspora uses art as an instinctive force. Music is the weapon – a heavy force field and nucleus of representations and senses. It is a continuous intensity and overload through frequencies, resonances, convulsive and spasmodic flows that bring into play energies willing to exorcise all secular violence through noise.

Wagner Ramos evolved in a profound relationship with black music in all its forms (Rap, Jazz, Soul, Samba). He started out in bars and nightclubs, later joining the Sesc Vila Mariana Repertory Group, and going on to play Brazilian rap with “Jamal e a Máfia do Cabelo Duro,” “Bá Kimbuta e Banda Makomba,” and playing with the singer Yzalu, among others.

A multimedia artist, improvisational musician and researcher of creative processes, Rômulo Alexis got into the music of invention in a profound relationship with Free Jazz in the band JazSmetak. He was in the bands DodecaFunk, Experimento Prosótypo and Mnemosyne 5. He is one of the founders of the São Paulo Free Improvisation Circuit. He performs soundtracks for dance, cinema and performance, and is a cultural producer.

The Medula group creates in the field of poetics of sound. The image of marrow refers to a connection between the material and immaterial, from the physical to the psychic, which is inside or behind the external form. The group production consists of artistic works that discuss or use overlapings and crossings of the borders of disciplinary fields. Includes works of music, sound art, and visual arts – in a way that, at many moments, one does not know exactly where one thing begins and another ends

At the end of the first part of “La Mer” (“De L’aube A Midi Sur La Mer”), Debussy emulates the coming and go crash of the waves getting a dramatic effect by almost direct allusion. In this case, the sign operates in the logic of representation, serving as a reference for something else that is not (or is not yet) language.

Taking as an example the sound of birds in Alfred Hitchcock’s classic: instead of natural bird recordings, Hitchcock preferred to use sounds produced by synthesizers that express more than a reference, but an experience of displacement and estrangement. Where you expect the conventional sound of a bird, you’ve got an anomalous noise that intensifies the terror. In this case, there is the sign that appears as a pure expression in itself.

That’s what it’s all about when we hear synthesizers. It seems that we leave the field of safe experience that brings
us the representation, to penetrate, fly over or even excavate a tunnel to a completely unknown and indeterminate
sound territory.

Even though, by now, there is an immense repertoire of recognized and assimilated synthesizer sounds, there are still in this fascinating machines the power to establish new environments of signs, as can be seen in the recent works of Rashad Becker and, above all, Keith Fullerton Whitman.

Since they appear in the musical production scene, synthesizers prefigure an unknown territorial dimension. This effect of continuous displacement, Bartolo knew how to bring forth in his first solo work, (E)species, edited by Sê-lo label from Salvador/Bahia, Brazil.

(E)species has, above all, the characteristic of risking variation, giving up repetition as one of the general trends in
synthesizer music today. Demonstrating technical skills and repertoire of possibilities and articulations, Bartolo structured a sonic continuum full of dynamics, passages, timbres and historical references (the Germanic synthesizer of the 70s for example), opening a consistent – and, perhaps, unlikely – path for the music of synthesizers in Brazil and Latin America.

Registered during two hot and humid evenings of January 2017 in Vila Anglo Brasileira, city of São Paulo. Solar das Telepatas is a refection and manifesto, celebration of the infnite possibilities of dialogue and the means by which they happen. Fragment of affrmations and negations of the next instant, where the sounds and the absence of them dissolve to (re)materialize in another time and space.
It is also, in its way, a tribute to the beloved bees that inhabit our yard.